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I was interviewed by Sean T. Collins over at Marvel.com about my Silver Surfer story for the Strange Tales II series. Check it out!

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I’m not sure why Robin McConnell chose this image to illustrate the “Best of 2009” Inkstuds radio show — we never ended up discussing Blackest Night, even though I read all five issues to date in preparation. (Fellow show guest Sean T. Collins, apparently a sadist, chose it as a potential topic.) Robin, Sean, Chris Mautner, and I did end up talking about a bunch of other 2009 highlights, though, and if for some reason you haven’t had your fill of comic-book blather this holiday season, you can listen to the show yourself here.

Actually, I kind of wish we had had the time to cover Blackest Night, which isn’t really good, but does represent a kind of ultra-meta-state-of-the-comics-industry symbolism that is almost impossible not to appreciate on an abstract level, whether or not it’s worth reading. (It isn’t, unless for “scholarly” purposes.) Then again, the subtext (or is it just text?) in question is pretty obvious, so it’s not like anyone needed a bunch of pointy-headed critics to draw it out.

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Hey y’all! Ramblin’ Frank Santoro here with a Comics Comics news report of sorts. Mr. Dash Shaw and I recently traveled to San Franciskie for the Alternative Press Expo. The “Nose Gang” was in full effect. It was a pretty good show for the most part. No complaints, no drama. Some interesting panels; lots of interesting people. I’ll be posting a full report later in the week but just wanted to say hey.

Also, I haven’t seen this linked to so I thought I’d post it here. Mr. Sean T. Collins has conducted an interview with Brian Chippenedale. Pretty great.

P.S. Best portrait of Jon Vermilyea ever.

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The indefatigable Sean Collins has posted the audio for two panels from SPX that may be of interest to Comics Comics readers: the “New Action” panel featuring our own Frank Santoro (as well as Benjamin Marra, Kazimir Strzepek, and Shawn Cheng), and the criticism panel, which includes CC contributors Joe “Jog” McCulloch and Bill Kartalopolous, as well as about a million more worthy names than I feel like typing out.

[UPDATE: STC has posted a transcription of the “New Action” panel here.]

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1. I don’t want to turn this blog into an all-Lauren Weinstein, all-the-time promotional vehicle, but it’s been a good month for her. First, there was the new Believer interview, and now she’s mentioned in the same breath as the great Daniel Clowes in a New York Times review of Ariel Schrag‘s new anthology Stuck in the Middle. Which is too awesome not to mention.

2. I also don’t want to turn this blog into an all-Patrick Smith, all-the-time promotional vehicle, but he is apparently the 146th greatest cartoonist of all time, which is also too awesome not to mention.

3. I enjoy Sean T. Collins’s blog quite a bit, but I don’t really agree with this sentiment from a recent post:

The thing that most irks me about [Alan] Moore’s work, even his best work, even his work I enjoy a great deal, is how ostentatiously writerly it is–the way his Godlike Authorial Hand shows in every move machination of his clockwork-precise plotting. And the thing is, to employ a criterion frequently used to lambaste superhero comics of a very different sort, what does this say to you about life, anyway? I think it’s awesome that there’s a completely symmetrical of issue of Watchmen, but it has sweet fuck-all to do with the way the world actually works.

First of all, who said art has to tell you anything about life? Who says art has to tell you anything about anything? This is not a criterion I use to evaluate comics. (I realize that not everyone will agree with me on this.)

Secondly, whatever a person might think of Alan Moore’s work in particular (I mostly like it, especially in the work from his pre-ABC years), this kind of complicated, thought-out, formalistic art has a very long and healthy pedigree, and I for one find discovering the hidden riddles, subtle thematic symmetries, and multiple levels of meaning buried in a well-conceived example of that kind of work to be one of art’s primary pleasures. It’s why I like the books of Nabokov and Borges and Gene Wolfe, the comics of Ware and Clowes, and the films of Kubrick. This kind of art may not reflect “the way the world actually works”, but it can certainly reflect the way the artist’s mind works, and can provide a readerly pleasure otherwise unavailable. A comic or movie or whatever that really reflected the way the world works would be as chaotic and unformed and nonsensical as life itself, and very difficult to understand.

Which isn’t to say that I disagree with Collins’s larger point: art doesn’t have to be so deterministically planned out to succeed, and certainly more improvised fictions also have their particular charms and effects. (And it would be foolish to deny that over-plotting can be stifling, and that Moore’s comics sometimes suffer from that.) But both strategies can work, and I imagine most artists use a little bit of both as a matter of course.

Also, I have to say that judging from the recent mainstream comics I’ve read, it’s simply not the case that writers are over-thinking their comics’ formal aspects.

UPDATE: While I was writing this, Collins put up another post, clarifying his problems with Moore, and making his argument a lot more supportable. I don’t really think Moore is quite as guilty (in terms of leaving “only one way to skin the cat” of his stories) as Collins does, but it’s certainly a fair point.

4. On a somewhat related note, a Jon Hastings post referenced by Collins does a really good job of explaining one of the more common problems with current mainstream comics. (I’m referring to part II of the post.) This argument seems a lot more convincing and specific than the standard complaint that the problem is just “too much continuity”.

When I read superhero comics as a kid (and I didn’t read very many, other than the odd issues my mother bought me for long trips or on days when I was home sick), the references to past events and other comics titles were often the most exciting parts. They indicated that there was a whole big world of this stuff to explore, Iron Man and the Hulk had had tons of previous adventures, and if only I could track down Avengers #89, Hulk #55, or whatever, I could follow along. (I never actually went ahead to do that, and left the mysteries unsolved by continuing to read superhero comics only very sporadically, but I may have enjoyed the ones I did read all the more just because of that. I never spoiled my imagined versions of their incredible adventures by actually reading them.) Which is all just to say that I think Hastings is making sense when he explains why comics “continuity” references doesn’t always work that way anymore.

5. And now the bloviating ends.

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If you want to avoid (mild) spoilers, don’t read Sean T. Collins’s brief review of Cold Heat #4 before the actual issue. But when you do read it, you will know that he is right.